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“A writer creates a world, and she is the ruler of it; the photographer moves through the world, our world, hoping for anonymity, hoping she is able to humble herself enough to see and record what the rest of us—in our noisy perambulations, in our requests to be heard—are too present to our own selves to ever see. To practice this art requires first a commitment to self-erasure.“
With multiple works on display at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Dia: Beacon in New York and a 13,000-square-foot installation in Marfa, Texas, 15 years in the making, the 87-year-old artist shows no signs of slowing down.
Even more surprisingly, Irwin has also been working with his first-ever photographer, Philipp Scholz Rittermann, who has finally been able to capture the nuances of Irwin’s work, thus calling an end to the photography ban. Irwin has been shocked to see how great the images look backlit on a computer screen—something that had never interested him before. “The one thing that’s lacking in photography is energy,” Irwin says. “But suddenly, on a monitor, these things have a whole new kind of presence. I thought to myself, This is only going to get better.”
PHILADELPHIA — Talking about the limitations of photography, painter David Hockney said that art “must deeply involve an observer whose body somehow has to be brought back in.” At the time, he was ...
When looking at Kasten’s work, it helps to remember Anni Albers’s advice: “We often look for underlying meaning of things while the thing itself is the meaning.”
Bryson Rand: Mario & Danny (Los Angeles), 2015
Feminism (n.): Plural 15 May - 25 June, 2015
Woman Made Gallery | Chicago
Opening Reception: May 15, 2015 | 6-8pm
If the artist calls it art, it’s art.
These are John Baldessari’s push pins...
Jessica Eaton cfaal 346, 2013 archival pigment print (edition of 4 plus 2 artist's proofs) 40 x 32 inches
Anne Vieux
The Dummy Award is back and we’re excited to see what this year’s edition has in store for us. Submissions will be accepted from the 1st of May until the 25th of July, so head over to our website and read more on how to participate: http://bit.ly/1GywbbR
Unseen has launched their open call for photobook dummies. Submissions open tomorrow!
Matthew Brandt LCD 70.4, 2015 plastic resin on plastic with polarization lenses in LED lightbox frame, unique 42-3/4 x 56-1/4 x 2-3/4 inches
Lex Pott & David Derksen Transience, 2015 oxidized silver mirrors various dimensions
Over time, dark spots start to appear on mirrors. The silver layer is slowly oxidizing under the influence of oxygen and water, thereby showing some of its history. This process can be regarded as degradation, however this project shows the beauty of this material transition of silver. Normally, the oxidation process in a mirror occurs randomly and evolves slowly over time. These mirrors reveal the different states of this process. In this case, sulphur is used to create an accelerated oxidation process. Depending on the time that the silver is reacting with sulphur, different colour tones can be achieved, ranging from gold to brown, to purple to blue. The states of the oxidation process are being shown in a pattern that consists of the elemental geometric shapes.
Jessica Eaton MF 05 / Tri Color V 04 (G > R, M > G, B > B), 2014/2015 color carbon print (edition of 3 plus 2 artist's proofs) 21 x 25 inches
Barbara Kasten interviewed by Leslie Hewitt
BOMB 131, Spring 2015
Image: Metaphase 5, 1986, Cibachrome, 37 × 29⅜ inches
Barbara Kasten Construct 32, 1986
"I never felt that I had a peer group before, and now I do. There are younger artists who respect what I do, and I respect what they do. So what if there is a thirty-year age difference between us? We are talking on another level." - Barbara Kasten
To explore this intergenerational conversation I invited four young artists to comment on and provide insight into Kasten's photography vis à vis their own, to provide a lens or frame or mirror by which we can understand various aspects of Kasten's work, and her impact on contemporary photography. I asked them how and when they had become familiar with Kasten's work, and how it made an impact on their work and their view of photography. --with Jessica Labatte, Jaclyn Wright, Erin O'Keefe, and Hannah Whitaker.
What an artist captures, what a mother knows, and what the public sees can be dangerously different things.
As ephemeral as our footprints were in the sand along the river, so also were those moments of childhood caught in the photographs. And so will be our family itself, our marriage, the children who enriched it and the love that has carried us through so much. All this will be gone. What we hope will remain are these pictures, telling our brief story.
Adapted from Hold Still: A Memoir With Photographs, to be published in May by Little, Brown and Company.
From the Aperture archive, a piece by Dorothea Lange and Daniel Dixon for Aperture magazine #2, 1952.
"For better or for worse, the destiny of the photographer is bound up with the destinies of a machine."
